Fiction -- History and criticism; Fiction -- Technique
Balzac, it cannot be denied, had frequent cause to look about him for
whatever means there might be of extenuating, and so of confirming, an
incredible story. His passion for truth was often in conflict with his
lust for marvels, and the manner in which they were mixed is the chief
interest, I dare say, of some of his books. See him, for example, in
the Splendeurs et Miseres des Courtisanes, trying with one hand to
write a novel of Parisian manners, with the other a romance of
mystery, and to do full justice to both. Trompe-la-Mort, the Napoleon
of crime, and Esther, the inspired courtesan, represent the romance,
and Balzac sets himself to absorb the extravagant tale into a study
of actual life. If he can get the tale firmly embedded in a background
of truth, its falsity may be disguised, the whole book may even pass
for a scene of the human comedy; it may be accepted as a piece of
reality, on the same level, say, as Eugenie Grandet or Les Parents
Pauvres. That is evidently his aim, and if only his romance were a
little less gaudy, or his truth not quite so true, he would have no
difficulty in attaining it; the action would be subdued and kept in
its place by the pictorial setting. The trouble is that Balzac's idea
of a satisfying crime is as wild as his hold upon facts is sober, so
that an impossible strain is thrown upon his method of reconciling the
two. Do what he will, his romance remains staringly false in its
contrast with his reality; there is an open gap between the wonderful
pictures of the town in Illusions Perdues and the theatrical drama of
the old convict which they introduce. Yet his method was a right one,
though it was perverse of Balzac to be occupied at all with such
devices, when he might have rejected his falsity altogether. In
another man's work, where there is never this sharp distinction
between true and false, where both are merged into something different
from either--in Dickens's work--the method I refer to is much more
successfully followed; and there, in any of Dickens's later books, we
find the clearest example of it.
Public-domain text, read in full here on John Shaqi.
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